The Art of Tsukamaki MATERIALS
Originally, this was published as: Aside from the tsuka itself, the basic materials in Buck, Thomas (1993). Tsuka-maki, tsukamaki are the ito, paper and glue. The Art of Japanese Sword Restoration. Colorado Token The glue can either be purchased (such as Elmer’s) or Kai Quarterly, v1, n1, pp. 3-8. produced by boiling rice, working it into a past while still warm, and adding a small amount of water.
The paper can be of nearly anyweight, but ideally it written and illustrated by Thomas L. Buck, Ph.D. should be relatively close to newsprint in weight and consistency. Ever since seeing my first Japanese sword, I have been captivated by the elegance and complexity of TSUKA- During the wrapping, be sure to moisten the paper MAKI (the art of wrapping the tsuka). Although I will wedges before inserting them under the braid, this will share with you a few of the tools, materials and allow the wedges to conform more readily to both the techniques needed for tsuka-maki, I have learned, tsukaito and the same. through the guidence of Takahashi-sensi, that patience, persistence and excellence are the true requirements for Although the ito is available in a wide range of colors, the application of this art. it is only manufactured using two different types of fibers (natural and synthetic). When trying to identify COMMON TERMS an unknown ito, a burn test is often helpful. The following chart gives tests for the principle natural In order to make this more understandable for both the fibers, and a few synthetics. novice, as well as the experienced wrapper, I shall start by defining a few of the common terms used in tsuka- FIBER FLAME ODOR RESIDUE maki. Luminous, Burning Cotton Fine, gray rapid paper FUCHI/KASHIRA pommel caps Slow Burning Brittle Silk HA cutting edge side oran/yellow hair bead HISHIGAMI paper wedges Wool, Slow, blue Burning Brittle ITO cloth braid hair feathers bead Sparks, Burnt MAKI to wrap Rayon Black ash orange paper MENUKI hilt ornaments Rapid, MEKUGI peg that secures hilt Acetate Vinegarish Hard bead sparks MEKUGI ANA holes in the hilt Melts, no Like Nylon Hard bead MUNE the side opposite cutting edge flame celery NAKAGO tang of sword OMOTE the side that faces out SUGGESTED ITO LENGTHS TSUKA hilt or sword handle Although I have encounter several different ways to derive the required length of ito, ranging from special TSUKAITO cloth braid covering tsuka formulas and ratios, to wrapping the tsuka from end to end and half way back, I tend to follow the simple SAME shark or ray skin guidelines given me by Takahashi-sensi. URA the side that faces in TANTO (4" tsuka) 6 feet of ito TOOLS WAKIZASHI (6" tsuka) 8 feet of ito For holding the tsuka: a stand that will hold the tsuka KATANA (10" tsuka) 12 feet of ito firmly in place for both wrapping and tightening, and ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ will allow work to be done easily on both the omote and ura side.
For inserting the paper wedges, and adjusting the ito: tweezers, a pick (any small pointed tool), and any small hand held tool with a blunt wedge shaped tip. You can most likely find all of these in used dental tools.
For holding the ito in place: a clamp that can be worked around freely, will not allow the ito to shift, and goes on and comes off readily.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ PREPARING THE TSUKA HISHI-GAMI (THE PAPER WEDGES)
In preparing the tsuka, start by stretching a sample of the desired ito tight and measuring its width (1W).
Using a small amount of rice paste glue, place thin To give the maki a proper shape, the tsukaito is folded paper strips along both the ha and mune sides of the over various styles of hishi-gami, or small paper tsuka. By Layering the paper you will decide the wedges. Here are a few of the many different styles finished shape of the tsuka, and also gaurd the ito from used. snaring on the surface of the same. Continue layering the paper until the fuchi/kashira will be flush with the edges of the tsuka (after the ito is in place). Measure and mark the ha and mune sides in tsukaito width segments (1W). The distance between the fuchi and kashira should measure an odd number of width units along both the ha and mune. If not, either the In making the wedges, begin by folding a sheet of tsuka may have to be altered, or a different weight ito newsprint, or standard weight paper 5-11 times. Cut may have to be selected in order to fit within an odd off excess paper, then cut the folded paper into two number of spaces. width (2W) segments. Use these to make any of the wedge styles previously illustrated in this article. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
One alternative to the previously mentioned hishi- gami, is made from a piece of paper (1" X 1/2") folded as shown above.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ (page 2) placed after the third set of folds from the fuchi on the omote side and three sets of folds from the knot on the ura side. In reference to wakizashi and tanto, the menuki are commonly place after the second or third set of folds. In any event, the positioning of the may vary because of the tsuka size, menuki size, ito width, or placement of the mekugi-ana. Another, fatter alternative wedge, can be made from a piece of paper (7 1/2" X 1 3/4W) folded as shown above.
THE WRAPPING OF THE HANDLE
To begin with, it should be stated that both Japanese tradition, and personal observation, suggest that tsukamaki should be started and completed on the omote, or the side of the tsuka that faces outward when being worn. This is almost always true regarless of the style of wrap.
Measure half the length of the tsukaito. Place the first two paper wedges on the ura (side opposite the omote), and align them with the marks on the paper strips. Make the first two tsukaito folds overlap the paper wedges. Bring the other half of the braid around and (Ito Maki no Katana) make the next two folds. Repeat with other length of ito. TYING THE URA SIDE KNOT Continue this procedure on the other side, alternating the direction of the folds.
During the wrapping, tightness should be a primary concern. Each fold should be drawn or stretched so that there is no slackness or looseness.
Throughout the process, continually monitor and adjust the symmetry of the folds and open areas, and try to maintain a smooth surface appearance along the ha and mune edges of the tuska. Ultimately, a quality tsukamaki maintains a consistent tightness and exactness.
PLACING THE MENUKI (Tying the Ura Knot)
In both the ito maki no katana, as well as the ito maki At the end of the tsuka, on the ura side, pass the end no tachi, the menuki are usually of the tsukaito, coming from the mune, over and then under the proceeding fold. Then, pass the end from ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ the ura over the other end, and under the previous fold, making a loop. Bring it back again under the fold. Thread both ends through the shitadome (if present) and the kashira side-by-side. TYING THE OMOTE SIDE KNOT
To start the omote knot, pass the bottom end of the tsukaito under the top set of folds, pull the braid over the fold, cut off,
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ (page 3)
(Tying the Omote Knot) apply rice paste glue, and tuck under. Take the top end of the tsukaito under the top set of flold, repeating the first part of the previous step. Then, make a loop by bringing it back again under thefolds. At this point, insert a small wad of paper and fold the tsukaito over and tighten. Bring the top length around to the left and down again cut off, apply and paste glue and tuck under.
ALTERNATIVE KNOTS
(MAKIKAKE NO KASHIRA)
ALTERNATIVE TSUKAMAKI STYLES
Of the more than forty styles of tsuka-maki that I am familiar with, here are five of the most common. (COMMON GUNTO KNOT) (Tsumami maki) ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ (page 4) (Tachi Tsukagashira Kake maki ) (Katate maki) ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ (page 5) (Two Variations of Kami Hira Maki zuka)
(Hoso Jabaraito Kumiage zuka) ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ VARIOUS SAGEO KNOTS (page 6)